Reflections on the
Carl Flesch Symposium: His Teaching and Influence
by Clayton Hoener

With this Symposium, the String Department at Longy School of Music continues to be a center for string pedagogy in the region. Following previous events featuring Barbara Barber, Mimi Zweig, Simon Fischer, and Matt Haimowitz, it was time to celebrate virtuoso violinist and pedagogue Carl Flesch (1873 - 1944), and the tremendous influence his teaching and writings had on modern violin playing through the Flesch students in our midst, Longy string faculty members Eric Rosenblith and Roman Totenberg, along with renowned violinist Ida Haendel. Held on Sunday, October 14 and Monday, October 15, 2007, the Symposium featured master classes, lecture/discussions, reminiscences hosted by classical music critic Richard Dyer, and a final performance.

It was an exciting event with the buzz of something highly anticipated. History was present in Pickman Hall those two days, a small, yet significant sliver of time and an opportunity to gather, celebrate, and immerse one’s self in pedagogical practice as promulgated by Carl Flesch. What kernels of wisdom, what historical information would be passed from their generation to ours?

The event began with master classes and lectures by Eric Rosenblith and Roman Totenberg. Their styles, while different, drew from similar fonts of knowledge. Both professors, listened to the students and continued the Flesch practice of jotting down shorthand markings in the margin of the student’s music, salient points which would be addressed following the performance.

Mr. Rosenblith heard students playing pieces by Kabalevsky, Bach, and Ysaye. He gave his expert advice on issues of specific technical concerns including more fleshy pizzicato, more relaxed bow hold, appropriate articulation, and economy of motion. Interpretive concerns of style, character, and musical communication were also brought to light. Mr. Rosenblith spoke about these issues with a particular outcome in mind – to have the student consider his words of wisdom and cultivate them in the technical and musical mastery of the piece.

Mr. Totenberg listened intently to students playing Vieuxtemps, Saint Saens, and Sarasate. His approach was one of immediate action and application. Issues needing attention were brought forth one-by-one and given their due by Mr. Totenberg using physical gestures to urge the students toward more dramatic musical expression and to adjust tempos. He corrected body movements to enhance expressivity, gave advice on fingerings, and stressed the importance Carl Flesch placed on the proper bow distribution.

After both of their master class sessions were corresponding lecture/discussions.
Of particular interest was Eric Rosenblith speaking about “Translating Carl Flesch’s The Art of Violin Playing”. Re-translating this influential treatise from German to English has been a labor of love for Mr. Rosenblith and it was apparent in his presentation. He highlighted areas of the old and new translations and the reasons for his interpretations and understandings based on language and his studies with Flesch. Longy School of Music has a further connection with The Art of Violin Playing in an archival copy of the first edition of the German publication of the book. At Flesch’s request Wolfgang Schocken a former faculty member proofread it. His hand-written annotations and a salutation by Carl Flesch are part of the Bakalar Music Library holdings at Longy.

Mr. Totenberg’s lecture highlighted the perceptive insight into technical elements which Carl Flesch brought to his students. He pointed them out and noted how these are in various ways included in Flesch’s texts, for example bowing variations in the Scale System and silent warm-up exercises in the Basic Studies.

The following night was an affair to remember. Richard Dyer moderated a discussion of reminiscences with Ida Haendel, Eric Rosenblith, and Roman Totenberg. They spoke fondly, diplomatically, yet frankly and at times emotionally about their times in the Flesch studio. They described his methodology, generosity, strictness, formality, kindness, and especially his desire to have his students become independently thinking musicians. There was fascinating conversation about their studies in Berlin and Paris, summers in Baden-Baden, and the environment leading up to the Second World War. One could not miss the overwhelming respect they had and still have for Carl Flesch as well as their pride in having the opportunity to study in his studio of students.

The culmination of the Symposium was the ‘informal performance’ by Ida Haendel. She started off with some slight teasing of the audience, asking them for their requests, as if she was not quite sure what to play. She gave them what they wanted: the Ciaccona by J.S. Bach, followed by Tchaikovsky’s Russian Dance, and the prayer movement from Handel’s Te Deum, which she dedicated to the memory of Daniel Pearl. The crowd clamored for more and the piano was rolled onto the stage. After some tuning and introduction Ms. Haendel, continuing to perform by memory, played the Intermezzo from Lalo’s Symphonie Espagnole, followed by a Hungarian Dance by Brahms. It was a wonderful ending to a glorious evening. For those who could not attend, the entire Symposium may be viewed on DVD at the Bakalar Music Library.

What is remarkable about these gatherings is the excitement and energy they generate and their broad appeal across the spectrum of string players and beyond. In attendance were college professors and students, symphony members, public school teachers, private instructors, free-lance musicians, preparatory studies students, avocational players, school administrators, journalists, librarians, and string instrument makers. The depth of impact of the artists and topics is striking and continues to inspire further endeavors in the important field of string pedagogy at the Longy School of Music.